With the exception of Evan’s “Waltz For Debby” and “T.T.T.” the set consisted of mostly bright covers Evans had regularly performed live and on studio recordings. Morning Glory the title of the album documenting the June 24th, 1973 concert at the Teatro Gran Rex-a 2500 seat former movie theater opened in 1937-featuring bassist Eddie Gomez and drummer Marty Morrell took place on a cold Sunday morning at 10:00 A.M.-something you’d not know listening to the performance (thought the album title is a hint), which opens with Evan’s contemplative “Re: Person I Knew” (an anagram of producer Orrin Keepnews), which first appeared on the Riverside album Moon Beams. Sadly, while prepping these albums for release, both engineer Melero and photographer Tito Villalba who documented both tours and provided photos, passed away. Resonance, of course, honors the musicians and their families and pays royalties, and always goes all out to tell the back stories, which in this case are fascinating and useful for any Evans fan. The recordings had been bootlegged with poor sound and no royalties paid to the musicians and their families. These two live Buenos Aires, Argentina recordings, Morning Glory from 1973, and Inner Spirit from 1979-less than a year before his death-came to Feldman’s attention four years ago through music journalist Roque De Pietro who put him in touch with recording engineer Carlos Melero who was in possession of both tapes. Unlike many if not most jazz artists, Evans preferred studio solitude to playing in noisy clubs, though of course some of his most treasured recordings were live performances and I’m sure I don’t have to name them for most analogPlanet readers.
For an artist who passed away at a relatively young age (51) Bill Evans left a rich and varied recorded legacy-more music on disc than even the most dedicated Evans fan could possibly consume, yet more rare and often precious gems continue to be discovered and released, particularly by Resonance Records, whose Co-President Zev Feldman is a huge Evans fan.Įvans’s prodigious recorded output is easily explained.
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